I can't see I'm going to be back as a reviewer, to be honest. I'm still checking my guestbook from ...
I can't see I'm going to be back as a reviewer, to be honest. I'm still checking my guestbook from time to time if anyone wants to chat!
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“One wonders in general how that great intellect could lower himself to waste his heavenly and sweet melodies on such a miserable and trashy text” (Niemetschek, writing in 1798, in an “official” Mozart biography).
Cosi, like all good comedy, hovers on the brink of being a tragedy. Niemetschek’s dismissal of Da Ponte’s libretto as “trashy” is also not that wide of the mark. All the elements of farce are there, and it’s not unusual in recent years to watch “Carry on Cosi” productions, especially in major opera houses.
THE PLOT Set in Eighteenth Century Naples, two young officers, Ferrando and Guglielmo, are led into a bet by their older friend Don Alfonso, that he can prove that women are inconstant by nature. Believing their lovers, two sisters (Fiordiligi and Dorabella) would never be unfaithful, they happily accept the bet, and agree to do everything Don Alfonso tells them to do. Don Alfonso tells the sisters that their lovers have been called to the front, and the officers “sail away” into the distance. Their maid, Despina, tells them that they should find other lovers to amuse themselves in the meantime, and when the two officers are brought back, disguised as “Albanians”, the sisters are scandalised, and reject them. The young men believe they have already won the bet, but Alfonso protests that the day isn’t over yet. The young officers feign despair at the girls’ disinterest, and pretend to take poison. Disguised as a Quack Doctor, Despina brings them back to life.
The sisters begin to show some interest in the “Albanians”, and each decide to flirt with one another’s original lovers. Dorabella’s
a pushover – after being serenaded in the garden, she happily accepts a golden heart locket from Guglielmo in place of the portrait of Ferrando she wears. Fiordiligi’s a tougher prospect, and would prefer to follow Guglielmo onto the battlefield than yield. Ferrando, however, breaks down her resistance. Both men are now betrayed. Don Alfonso tells them that they couldn’t have expected any other outcome, and advises them to accept the girls as they are. A double wedding is planned – Despina, again in disguise acts as notary, and just as the marriage contracts are signed, a military march signals the “return” of Ferrando and Guglielmo. The deception is made clear. Alfonso has won his bet, and the lovers must try and put their lives back together. Do they get back together with the originals? Swap? Split up altogether? You decide.
THE RECORDING Recorded live over two concerts in the Royal Festival Hall, May 1994, and released by the Decca Record Company on 444 174-2 as a 3 CD box set, with full 4 language libretto (French, German, Italian and English). Although technically still full price, you may be lucky enough to pick this up heavily reduced at specialist classical music stores, or on eBay. Current Amazon price is £40.99. Onto that later…
THE CAST Fiordiligi – Renee Fleming; Dorabella – Anne Sofie von Otter; Ferrando – Frank Lopardo; Guglielmo – Olaf Bar; Despina – Adelina Scarabelli; Don Alfonso – Michele Pertusi
Chamber Orchestra of Europe, conducted by Sir Georg Solti London Voices
THE RECORDING Decca have (well, had really, they’ve carved the company to the bare bones these days) every right to be duly proud of “The Decca Sound”. It was unique – clear, forward, balanced, “live” sounding (even in a studio), and with a sense of immediacy that no other classical recording company could get near. Even with the obvious problems of a live recording, the sound is superb (although you’d be forgiven for thinking TB was endemic in London in May of 1994…).
IS IT ANY GOOD? Well, Mozart’s music is sublime, and it’s pretty difficult to make a mess of the score. Solti handles his forces with an iron grip (he always did –it’s interesting to compare this late career recording – he died a week after Princess Diana in 1997 – with the arrogant brilliance of his early 1960’s Ring Cycle), and yet allows ample breathing space, in all senses of the word, to his singers.
Fleming’s Fiordiligi sounds slightly under pressure. She occasionally has shaky moments vocally, and sounds a little strident towards the end of the Act 1 (I suspect this was recorded on the second night, and she was tired, but this is just a guess). When she is on form, there are hints of the international name she is today, but I think that she was really just too young (early 30’s) for such an exposed, highly publicised international engagement as this one.
Von Otter’s Dorabella is lacking only in Mediterranean warmth (the same complaint I had about her Glyndebourne Carmen last year). Words are crisp, the voice is under tight control, and her vocal characterisation stops just short of excess.
Which leads me onto Scarabelli’s Despina. Singing in her mother tongue, this is a one stop trip to the deli counter – more ham please. There’s too much pert soubrette, and not enough bitch. I get no sense of why Despina is like she is, or who she is. The singing’s OK (when she allows it to be), but why is she here? I’m missing the likes of Lillian Watson.
Frank Lopardo is, for me, the star of the set. Sensitive, free, refined singing, sometimes surprisingly virile, and in terms of sheer vocal beauty, “Un aura amorosa” gets dangerously near the peerless Fritz Wunderlich, who died far too young. If you like your Mozart tenors big and butch, Frank will knock your socks off, but if you prefer Ian Bostridge in these roles, you’ll hate him. I was hoping Frank Loprado might change the face of Mozart singing, but it doesn’t seem to have happened (yet).
Olaf Bar’s Guglielmo is warm, bluff, and engaging. You like him a little more than the character deserves, but like von Otter, there’s something Italianate lacking.
Pertusi’s Don Alfonso is just too young sounding. I’ll say no more.
WOULD I BUY IT? No. There are far better Cosi’s on the market. If you are looking for a library addition for yourself, I would recommend the Schwarzkopf/Ludwig recording under Karl Bohm, or if you prefer something more modern sounding (I know that Schwarzkopf can be an acquired taste…), go for the Amanda Roocroft/Rosa Manion recording under John Eliot Gardiner, which is roughly contemporary with the recording I’m reviewing here (both of these other recordings are available at around the £25 mark).
IS IT GOOD VALUE? Hell no. My final words on the subject.
IS IT WORTH BORROWING FROM THE LIBRARY? I’d never say any recording of anything WASN’T worth borrowing from the library. It’s an interesting early career bit of Renee Fleming, an equally interesting bit of late career Solti, and a why isn’t he the “fourth tenor” bit of singing from Frank Lopardo.
SUMMING UP If you need a Cosi fan tutte in your record collection, this isn’t the one to buy. There are better, cheaper, funnier, more touching recordings on the market, and this really doesn’t do this great score enough justice.
In addition, it’s an opera you really need to see live. At the time of writing, ENO’s Jerwood Young Artists are just finishing a short run at the Barbican. Apart from some aspects of Sam West’s direction (why he thought he could improve on the plot in his first bit of opera direction is beyond me), the production and (in general) vocal standards are exceptional. If they revive it when they move back to the Coli after refurbishment, go and see it instead!
PS: Originality and Lyrics rate Mozart and Da Ponte, the rest rates the recording!
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